Screen Kiss Series, which explores how the female body is “screened” in film, came out of working on the live projector performance Screen Kiss.

I was watching a lot of 1940s film noir at the time: the female star has a glowing radiance about her, produced by placing a translucent barrier (gauze, vaseline) between the body and the lens. The focus gradually shifts from the face, to the messy, visceral imprints of the lips – the means by which this radiance is achieved. Hand-processing and photo-chemical manipulation (solarisation) explode the image further, breaking down the screen kiss so that it cannot be easily contained within the frame.